11055http://metsurvey.kenyoncip.org/files/original/886d546e639221623e146a4be0df44c4.jpgab82fdfff97d3b02f0c022a7aacbffafhttp://metsurvey.kenyoncip.org/files/original/0222342ba5097e8b75b4e12024500624.jpgd4bf9825b56cfa611b89de9e87af86c1http://metsurvey.kenyoncip.org/files/original/94094e2910a8f1e56ed557f730b3d1f3.jpg5a096d96db66b5f8636654f9e89094d8Still ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataMarblePhysical DimensionsThe actual physical size of the original imageH. 14 1/4 in. ( 36.2 cm)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceMarble portrait of the emperor CaracallaSubjectThe topic of the resourceRomanSourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/253592PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resourceA.D. 212–217ContributorAn entity responsible for making contributions to the resourcePatricia Koskei, '21RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context40.11.1aCoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantRomeDescriptionAn account of the resource<p>The marble portrait of the emperor Caracalla is a fragmentary bust, which is carved in the round, and portrays an adult male possibly in his mid-thirties. He has a round face that is accentuated by a thick muscular neck. His hair is short and has closely adhering individual curls, with visible traces of pigment scattered on the masses of hair. His face is individualized, and the flesh appears smooth and without blemishes. His eyes, which are emphasized by his prominent brow ridges, are large, rounded, and deeply set in their sockets. He has a thick plebeian nose with a furrow across the bridge, an open mouth with slightly parted curved lips and a cleft chin. His square jaw is accentuated by a beard which extends over the upper neck and the underside of the chin. He has creases on his forehead, wrinkles on his brows, and furrows on the bridge of his nose, all working together to render a frowning and somewhat sinister facial expression.</p>
<p>Overall, this portrait is an indication of the importance of using visual language to communicate political propaganda. Sculpture was influential in legitimizing the emperor’s supremacy and publicizing the reach of his domain in ancient Rome. Copies were widely dispersed to all the Roman provinces, and served as a constant reminder of the identity of the imperial authority. This marble bust is a depiction of the Roman emperor Caracalla (r. 211-217 CE) and it served to communicate the emperor’s power, his military prowess, and his vigilance.</p>
<p>According to <em>Janson’s History of Art</em>, portrait statues of Roman imperial figures were erected in public places and were intended to support the legitimacy of the emperor’s powers. The <i>Augustus of Primaporta</i> (fig. 7.29), for instance, which is a marble sculpture of the Roman emperor Octavian Caesar Augustus (r. 31 BCE – 14 CE), was a visible testament to Augustus’s claim to authority. This sculpture can be complemented by the marble portrait of the emperor Caracalla since the two served a similar purpose; they both visually testified the two emperors’ skill in matters of combat and their control over the vast Roman empire. Augustus is shown wearing armor and holding a baton, while Caracalla is depicted as a no-nonsense ruler of iron-fisted determination. Both images clearly signify the essentiality of portraiture as a political tool for imperial rulers in ancient Rome.</p>http://metsurvey.kenyoncip.org/files/original/a4da9b0576a662cedb9c95f7d9e54846.jpg1cc2dc217af2b477d2fc9328ad71c672Still ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataInk, opaque watercolor, and gold on paperPhysical DimensionsThe actual physical size of the original imagePage: 9 11/16 x 8 in. (24.6 x 20.3 cm) Text box (recto): 9 5/16 x 5 11/16 in. (23.7 x 14.4 cm)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceComposite ElephantSubjectThe topic of the resourceMedieval DeccanSourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/453263PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resourceEarly 17th centuryContributorAn entity responsible for making contributions to the resourcePatrick Conley, '20RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context1985.247CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantGolconda KingdomDescriptionAn account of the resource<em>Composite Elephant</em> consists of nine female Hindu dancers, a Muslim ruler, and a woman riding with the ruler. The position of the four women making up the legs visually conveys a sense of motion, and the gestures of several of the figures, including the Sultan, indicate that the animal is moving forward. This can represent the Muslim leader guiding his majority-Hindu kingdom. The overlapping of all the figures making up the elephant also strips away the individuality of the dancers, making them truly appear to all be part of the whole, until you look closer.<br /><br />In terms of the specific cultural connections featured in this painting, the use of a composite animal to depict the impressive athleticism of Deccani acrobats is important. Not only were the acrobatic feats of these women an important part of Deccani society in the time of the Qutb Shahi dynasty, but they continue to be today. Composite animals were also a very prominent part of Deccan art and so this practice offered a fitting medium to apply the use of bright and vivid colors, which could have been borrowed from 16th century Persian works of the Safavid dynasty. (<em>Janson's History of Art</em>, p. 306) This helps portray the image of Golcandan society as a harmonious and mutually-beneficial coexistence between Muslims and Hindus in the peninsula.<br /><br />I believe that <em>Composite Elephant</em> would work well as a supplement to <em>Allegory of Worldly and Otherworldly Drunkenness</em> (fig. 9.31) because it would demonstrate both the importance of Safavid culture throughout the growing Muslim world and the syncretism this produced. There are several similarities between the two paintings, most notably their bright colors, the chaotic feeling and sensory overload produced by the number of figures in the piece and the relatively similar depictions of the men in the paintings. However, there are also sharp differences like the use of the composite animal. This combination of artistic techniques from Persia with a regional style as far away as south-central India demonstrates the kind of syncretism that a highly influential culture, like the Safavids, can produce when it comes into contact with the existing cultures of another region.http://metsurvey.kenyoncip.org/files/original/87079fd0d0e75d8b339906b68beb18a7.jpg8ff451d1595ab84650e6caa0093d9e1dStill ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataBlue faience with black spots, paintPhysical DimensionsThe actual physical size of the original imageL. 6.2 cm (2 7/16 in.); W. 2.3 cm (7/8 in.); H. 3.8 cm (1 1/2 in.)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceCat figurineSubjectThe topic of the resourceAncient Egypt, Middle KingdomSourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/545725PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resource1981–1802 B.C. Middle KingdomContributorAn entity responsible for making contributions to the resourceMiah Tapper, '21RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context26.7.902CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantFrom Egypt; Possibly from Memphite Region, Heliopolis (Iunu; On)DescriptionAn account of the resource<em>Cat Figurine</em> is a small, compressed figure resembling a wildcat, painted with black spots, and mounted on a flat rectangular base. Crafted in faience, a popular medium in ancient Egypt, <em>Cat Figurine</em> has a brilliant turquoise hue, which is polished to a light shine.<br /><br />It is ultimately the figurine's design and natural imagery that should be regarded as most important in relation to its purpose: guarding over the deceased. The wildcat’s squat nature adds to the stability of the figurine, therefore aiding its long career as protector of the deceased's afterlife. <em>Cat Figurine</em>’s rectangular base also adds to its stability, and would allow for the statuette to rest nicely in its desired placement: an ancient Egyptian funerary temple. In a temple, the statuette’s frontality would allow it to gaze directly at rituals, and visitors that entered to pay their respects to the dead. Through its natural imagery, <em>Cat Figurine</em> shows how animals played a role in the religious beliefs and imaginations of the Egyptians. Wild animals were seen as chaotic beings, something the Egyptians strived to ward against in their goal to achieve order. By representing these animals in sculpture, Egyptians hoped to contain their wild characteristics. The use of a rectangular base can be seen as an additional method of containment.<br /><br />In <em>Janson’s History of Art</em>, <em>Cat Figurine</em> could replace <em>Female Figurine</em> (fig 3.22) in the “Funerary Architecture” section of Egyptian Art. Similar to <em>Cat Figurine</em>, <em>Female Figurine</em> was made during the Middle Kingdom, and was placed in a funerary temple. Furthermore, the representation of a woman would aid the transition of the dead into their new life, much like how the representation of a wildcat would keep chaos from permeating the temple and affecting the deceased. Thus, they were both ideal protectors for the afterlife.http://metsurvey.kenyoncip.org/files/original/bba53c21fb5a8ada43bf433ff464ea7d.jpg0496970f99ab97b467c275c5e4c204c8http://metsurvey.kenyoncip.org/files/original/257124a6e77ec4c1ae027b33c1b80aca.jpg8dc80ec97b1f7e21a09ff6cdcc5150dfhttp://metsurvey.kenyoncip.org/files/original/0756d47918800bd6e87fa3495907431f.jpg1d7867ebb2b33da0f19e8aa302355ab2Still ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataFacsimile: Tempera on paperPhysical DimensionsThe actual physical size of the original imageFacsimile: H. 38.7 × W. 83.5 cm (15 1/4 × 32 7/8 in.), scale 1:1, Framed: H. 40.3 × W. 85 cm (15 7/8 × 33 7/16 in.)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourcePurifying and Mourning the Dead, Tomb of Nebamun and IpukySubjectThe topic of the resourceAncient Egypt, New KingdomDescriptionAn account of the resourceThe wall painting, <em>Purifying and Mourning the Dead, Tomb of Nebamun and Ipuky</em>, illustrates two separate funerals for two sculptors. The first funeral, to the right, is of the sculptor Ipuky. The second, to the left, is of another sculptor named Nebamun. Priests stand on the left, throwing their hands in the air and performing the purification rituals for the dead men. The woman named Henutnefret, depicted twice, was a widow first of Ipuky and then of Nebamun. She bows at their feet, mourning their deaths at different stages in her life. The earlier funeral procession — illustrated by Henutnefret's smaller size and lighter skin tone — shows her mourning her first husband, Ipuky. She is older on the left, throwing dirt over her head in grieving for Nebamun, her second husband. The god, Horus, oversees the funeral procession to the far right.<br /><br />Wall paintings in tombs underscored important aspects of someone’s life, often including funerary rituals to emphasize the next stages proceeding life. Portraying Henutnefret twice suggests her agency in commissioning the painting and also highlights the impactfulness of her husband’s funerals. Tomb paintings not only signified major aspects of Egyptian life, but also provided insight to Egyptian society’s values and beliefs regarding the afterlife. Life during the New Kingdom era was “articulated through spatial, iconographical and textual symbolism” in wall paintings, alluding to Egyptian society’s appreciativeness of life (Redford, 2001).<br /><br />This facsimile painting is easily interchangeable with figure 3.33 in <em>Janson's History of Art</em>, <em>Musicians and Dancers</em>, another wall painting found from the Tomb of Nebamun in Thebes. Either wall painting in tombs tell a story of Nebamun, while simultaneously demonstrating the type of art created for the tombs in New Kingdom.CreatorAn entity primarily responsible for making the resourceCharles K. Wilkinson ca. 1930 (facsimile)SourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/545140PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resourceOriginal ca. 1390–1349 B.C. 18th DynastyContributorAn entity responsible for making contributions to the resourceGwen Tosaris, '21RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context30.4.108CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantFrom Egypt, Upper Egypt, Thebeshttp://metsurvey.kenyoncip.org/files/original/7fec688c051f96f22ca3c2cbfc785c91.jpg35f1a0328b125930513813e25cbd7f77http://metsurvey.kenyoncip.org/files/original/f222d313cfc40914acbbbb572950d1ee.jpgf31ad1d8d0306ec1f41ffd4abab28a91http://metsurvey.kenyoncip.org/files/original/0151b923d99e2f14e6e3154ffb1af244.jpg433a3cbfd2e382a79968d36713f12a63http://metsurvey.kenyoncip.org/files/original/b8f6006be97f10f11646cefc74164aad.jpgc89cbfa4095b8d29c39a9cef44447599Still ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataTerracotta; red-figurePhysical DimensionsThe actual physical size of the original imageH. 13 11/16 in. (34.8 cm)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceTerracotta Nolan Amphora (jar)SubjectThe topic of the resourceGreek, AtticSourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/247283PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resourceca. 480-470 BCEContributorAn entity responsible for making contributions to the resourceChandler Nathan, '20RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context06.1021.117DescriptionAn account of the resourceThe <em>Terracotta Nolan Amphora</em> depicts two Greek soldiers killing a Persian soldier. On the front of the amphora, there is a Greek soldier in a strong, athletic position impaling the barbaric-looking Persian through the stomach while the Persian flails his arms in the air, displaying vulnerability. On the back-side of the amphora, there is another Greek soldier with his back to the viewer. This second soldier is depicted with a muscular physique, and winding up to do the same to the Persian. At only about 13 inches, it is quite small for an amphora, so it was probably used decoratively, not functionally. It is made from terracotta, a popular medium used in ancient Greece, and was decorated using red-figure technique, which means that the image is the same color as the terracotta used to make the amphora while the rest is colored black with a glaze.<br /><br />The amphora has a great deal of historical importance and context because it depicts a scene from the Greco-Persian Wars in which the Greeks fended off the Persians in both of their attempts at invasion. The Greeks rarely depicted contemporary battle scenes on their amphorae, so the fact that they did so in this piece shows that the Greco-Persian war was of particular importance to them.<br /><br />This piece should be added to our textbook because it would be the only amphora in the collection that depicts a scene from an actual historical event. A work seen in <em>Janson’s History of Art</em> that the<em> Terracotta Nolan Amphora</em> could very well supplement is <em>Achilles and Ajax Playing Dice</em> (fig. 5.25) by Exekias. This piece is another example of red-figure pottery. Despite the two pieces both being from the same era, they have some key differences. <em>Achilles and Ajax Playing Dice</em> is almost twice as tall as our <em>Terracotta Nolan Amphora</em> at 21 ⅞ inches, and shaped much differently, as its mouth and neck are much wider. It depicts a mythical scene, like the other amphorae in the textbook. Including the<em> Terracotta Nolan Amphora</em> in the textbook would disrupt this monotony.CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantGreecehttp://metsurvey.kenyoncip.org/files/original/bfe3d72ad1f9e113dc00357cfc0528e1.jpgdcdf60597cefc9122a1706f2c149bcd0http://metsurvey.kenyoncip.org/files/original/aaa99d30ab4ed7fd66eb5ad3e5075b27.jpgc429b52bdf8654c46b60bbb95183e4f3http://metsurvey.kenyoncip.org/files/original/69f7d2fbda8a5b180b2f5ba5c71a458b.jpgc2a4407d6c029d40b13148996a81e966http://metsurvey.kenyoncip.org/files/original/b59dc1ea7990da118a3a67fba13bbc26.jpg0c6a3cba65fed3d9f36d0b72b6968ba7http://metsurvey.kenyoncip.org/files/original/1217d6da091a6265e19e027755f74740.jpg1707111bc6fd6bd52d92aecc32336192Still ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataEgyptian blue, goldPhysical DimensionsThe actual physical size of the original imageL. 2.5 cm (1 in); w. 1.7 cm (11/16 in); h. 1 cm (3/8 in)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceScarabSubjectThe topic of the resourceAncient Egyption, New KingdomSourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/547599PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resourceDynasty 18, early, ca. 1550–1479 B.C.ContributorAn entity responsible for making contributions to the resourceSean Lema, 21'RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context26.7.575CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantFrom Egypt, Upper Egypt, Thebes, Asasif, Tomb CC 37, Hall (C), burial 24, Carnarvon/Carter excavations, 1911DescriptionAn account of the resourceThis <em>Scarab</em> is a piece of Ancient Egyptian jewelry from the New Kingdom (Dynasty 18, early, ca. 1550–1479 B.C.). It is made out of Egyptian Blue. The rounded side is carved to represent a scarab beetle. The artist included a head and legs, but did not include wings. On the bottom, the artist intricately incised a very detailed image of a scarab beetle within a rope border. A hole was drilled through the <em>Scarab</em> in order for a wire or cord to pass through and make it wearable around the finger. There is also gold lining the hole that was drilled. <br /><br />Regardless of its small size, this piece of jewelry represents one of the mightiest Egyption gods of all: Ra, the Sun God. Ra was commonly represented as a man with a scarab beetle head. Wearing this <em>Scarab</em> around your finger would show devotion to Ra and also be a sign of wealth, as only the wealthy could afford to wear such extravagant jewelry.<br /><br />The best place in <em>Janson’s History of Art</em> to include this <em>Scarab</em> would most likely be in the New Kingdom section of the chapter on Ancient Egypt. It would complement The Temple of Amun-Ra at Karnak beautifully because of their spiritual contexts. Another option would be to create a new section in the chapter focused solely on New Kingdom jewelry. The textbook would certainly benefit from this inclusion.http://metsurvey.kenyoncip.org/files/original/72b8703eaf675b7e66f8a8c87cbe19c4.jpg244f410095c7911081d8faff4ef73ecaStill ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataSteel, gold, fish skin, woodPhysical DimensionsThe actual physical size of the original imageL. 37 7/8 in. (96.2 cm); L. of blade 30 3/4 in. (78.1 cm); W. 6 1/8 in. (15.5 cm); Wt. 2 lb. 5 oz. (1049 g)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceSaberSubjectThe topic of the resourceTurkish, probably IstanbulDescriptionAn account of the resourceThis golden Saber from the Ottoman Empire was worn to show the wealth, power, and greatness of the wielder. The blade, which is covered in gold, is overlaid in elaborate Arabic inscriptions, as calligraphy was a large part of Islamic art and culture. The crossguard of the Saber is covered in gold and gems, and the green fish-skin handle is a later addition. The inscriptions on the blade are passages taken from the Qur'an, the holy book of Islam. The passages reference Solomon, son of David, and praise his accomplishments. These passages also serve as a reference to the original owner of the sword, Süleyman (Solomon) the Magnificent (r. 1520-1566 CE). Although it was a weapon, the Saber was never intended for combat, but rather as a ceremonial object. The golden blade, inscriptions, and gems speak to Süleyman's wealth and power.<br /><br />The Cloak of Roger II of Sicily is an item in <em>Janson’s History of Art</em> that is very similar to the Saber of Süleyman. The Cloak is red and gold, and shows a palm tree in the middle with a lion attacking a camel on either side. Like the Saber, the Cloak serves the purpose of boasting the greatness of whoever is wearing it. The Cloak also has an Arabic inscription that praises the wearer without directly naming him, indicating that the garment was made in “the most royal, flourishing wardrobe” of Roger II (r. 1130-1164 CE). These inscriptions are slightly different from those on the Saber in that they are original rather than quotes from the Qur’an.<br /><br />The Saber of Süleyman fits into the chapter on Islamic art of <em>Janson’s History of Art</em> because it speaks to the impact that Süleyman had on the Islamic world. The Ottoman Empire reached its peak in culture, art, and wealth under Süleyman’s rule, making him an incredibly important figure in both Islamic history and world history. The most important part of the Saber is the blade. The craftsmanship, technique, and creativity to make a blade like this is simply incredible, making it a stunning work of art. Because of all this, the Saber of Süleyman the Magnificant is especially important for students to study.SourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/24320PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resource1522-66ContributorAn entity responsible for making contributions to the resourceLiam Thor, '21RightsInformation about rights held in and over the resourcePublic domainIdentifierAn unambiguous reference to the resource within a given context36.25.1297CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantprobably Istanbulhttp://metsurvey.kenyoncip.org/files/original/e025a4bcb0c862391c5c392c72e436aa.jpge7de9511dfc5e42e1c8cd430282c88cdStill ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataGlass, colorless with brown tinge; blown, blown applied foot, enameled and gildedPhysical DimensionsThe actual physical size of the original imageH. 14 1/8 in. (35.9 cm) Max. diam. 10 1/16 in. (25.6 cm) Diam. with handles 10 5/16 in. (26.2 cm) Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceMosque Lamp of Amir QawsunDescriptionAn account of the resourceThe Mosque Lamp of Amir Qawsun is a transparent glass vessel approximately 18 inches tall and 10 inches in diameter at its widest point. As its contemporary name indicates, the vessel was designed as a lamp for use within the dark passageways of a mosque. The mouth of the lamp takes a cone-like form and extends outward at one, uncurving angle. The main body of the lamp, the oil reservoir, is rounded and bulbous. This central section also features eyelets constructed from applied glass that serve as hang points. The base of the lamp is a trumpet-like, downward-facing cone. Although intended to be hung while in use, the lamp’s foot is a practical feature, providing stability for refilling or storage. Arabic calligraphy is featured prominently on the exterior walls of the lamp. Large bold, blue lettering decorates the sides of the bulbous central section, and negatively-shaded, transparent lettering covers the walls of the lamp’s mouth. A dense, monochromatic vine motif covers much of the lamp's surface, and creates contrast relative to the other design elements. Scattered over the lamp, small flourishes of colored enamel highlight details, such as flowers in the vine motif and several stylized emblems.<br /><br /> Mosque lamps of the Mamluk period, and the Mosque Lamp of Amir Qawsun in particular, represent important developments for the medium of glasswork and the broader stylistic canon of Islamic art. Craftsmen during the Mamluk period were the first to master the highly-technical art of coloring with glass enamel, which requires precise control of temperature during the firing process, and an understanding of the physical chemistry of each color of glass. Stylistically, Mamluk lamps are important because they established many of the ornamental conventions now associated with Islamic art.<br /><br /> The Mosque Lamp of Amir Qawsun would be a good complement to, or replacement for, the Mosque Lamp for the Mausoleum of Amir Aydakin al-'Ala'i al-Bunduqdar featured in figure 9.6 of <i>Janson’s History of Art</i>. Both lamps are extremely similar in their form and the detail of their enameling; furthermore, the two are also very close in age. These formal similarities aside, the Mausoleum lamp features an inscription that simply proclaims the occasion for the lamp’s commissioning. The Mosque Lamp of Amir Qawsun in contrast, features an inscription that is far more historically illuminating concerning the hierarchy within the Mamluk court. This inscription praises the exalted status of its patron, Amir Qawsun (d. 1342), while also identifying his relationship to the ruling sultan: “That which was made for his excellency, the exalted, the lord, the royal, the well-served Sayf al-Din Qawsun, the Cupbearer of al-Malik al-Nasir.”
<p></p>SourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/447006PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resourceca. 1329–35ContributorAn entity responsible for making contributions to the resourceMiles Crawford, '19RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context17.190.991 CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantAttributed to EgyptCreatorAn entity primarily responsible for making the resource'Ali ibn Muhammad al-Barmaki ?http://metsurvey.kenyoncip.org/files/original/96f12ca85720975d83bca33ea634b306.jpg714463ddaf1f8650a315716898933742http://metsurvey.kenyoncip.org/files/original/2281b9fc0c305bca3a64f8ab2a34644e.jpgdccac13d25478692f031cb2275def2d6Still ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataBronzePhysical DimensionsThe actual physical size of the original imageH. 9 5/8 in. (24.51 cm)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceBronze diskos throwerSubjectThe topic of the resourceGreekSourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/247967PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resourceca. 480–460 B.C.ContributorAn entity responsible for making contributions to the resourceLily Valentine, '19RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context07.286.87DescriptionAn account of the resourceBronze Diskos Thrower is a bronze-cast statuette from the Peloponnese, and dated to the beginning of the Classical period of Ancient Greece. It is significant to note that this is a statuette, not a statue, as it is only 9 5/8 inches tall. It features a nude athlete with a discus raised slightly above his head. He wears a helmet and is in an activated stance as he is about to throw the discus. The artist especially highlights the muscular, well-defined, body. The face and body of the athlete are recognizable elements of the natural world, but a lack of any imperfection and fine detail, especially in the face, creates a generic figure rather than an individualistic portrait. During the Classical period, nude, idealized figures were frequently depicted in sculpture. In order to idealize the human form, the Greeks focused on conveying the idealized muscular body in natural movement.<br /><br />Although the Bronze Diskos Thrower is much smaller and in a more activated stance, it resembles the Kritios Boy that is mentioned in <i>Janson’s History of Art</i>. Both figures possess nude, idealized bodies in contrapposto. The bodies are not rigid, and there is a clear understanding of how the body naturally moves. This perfection of form and movement is given prominence over individuality; a lack of fine detail in the face leaves both figures as generic representations. Both Kritios Boy and Bronze Diskos Thrower are important as early representations of naturalism in the Classical period, but Bronze Diskos Thrower should additionally be included in <i>Janson’s History of Art</i>. Unlike Kritios Boy, it demonstrates this early naturalism in bronze that would have required an entirely different sculptural technique.CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantGreecehttp://metsurvey.kenyoncip.org/files/original/a3adcfb850f09bbe018cad3246176812.jpg5778ca79a47b1d8937124a8cfec6b34dhttp://metsurvey.kenyoncip.org/files/original/1a8a6e2fa4294a8d17afc9730ce34f1c.jpg9e07b7eeda124ca323c1467297e67f67http://metsurvey.kenyoncip.org/files/original/9892579259f055506f47163e9f44ff83.jpg9fe2b0b7e3a26d0540ba7720851ae47dhttp://metsurvey.kenyoncip.org/files/original/f4e44335cae3e98698abc7bc5ac81ab4.jpgeb1146c80d4a32eeb82f38a5b7c97411Still ImageA static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.Original FormatThe type of object, such as painting, sculpture, paper, photo, and additional dataBronzePhysical DimensionsThe actual physical size of the original image8 1/16 × 3 1/2 × 4 1/2 in., 65.6oz. (20.5 × 8.9 × 11.4 cm, 4.1 lb.)Dublin CoreThe Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.TitleA name given to the resourceBronze statuette of a veiled and masked dancerSubjectThe topic of the resourceGreek, HellenisticSourceA related resource from which the described resource is derivedhttps://www.metmuseum.org/art/collection/search/255408PublisherAn entity responsible for making the resource availableThe Metropolitan Museum of ArtDateA point or period of time associated with an event in the lifecycle of the resource3rd–2nd century B.C.ContributorAn entity responsible for making contributions to the resourceKaelynn Alexander, '21RightsInformation about rights held in and over the resourcePublic DomainIdentifierAn unambiguous reference to the resource within a given context1972.118.95CoverageThe spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevantAlexandriaDescriptionAn account of the resourceThis object is a hollow-cast, bronze statuette of a dancer. It is from the Hellenistic period and was likely made in Alexandria. It is exemplary of Hellenistic statuary because of the highly exaggerated movements and the clear impact that the motions have on the clothing. The dancer is almost completely covered and yet her form and movements are still evident to viewers. Her movement is complex. Her left leg extending forward with her skirt trailing behind implies forward motion, but her head, and her shoulders to a lesser extent, are bent back and to the left. These combined motions give the impression of spinning and twirling, which is likely what the dancer would have been doing based on the type of dance she is believed to be performing.<br /><br />This is a lot of motion to be portrayed by a static object. This was often the purpose of Hellenistic artists and is the main point put forth in <i>Janson’s History of Art</i>. This statuette would perfectly demonstrate what the textbook is trying to convey about Hellenistic sculpture. It would pair well with the Nike of Samothrace (fig. 5.74), since it would provide an example of a bronze statue to compare with marble, and it would contribute more complex motion than the Nike, who is just moving upwards. It would also allow for students to see what the artists could do with heavier fabric than the “wet drapery” of the Nike. It would not replace the Nike as they are two very different, yet equally important, examples of art from the Hellenistic era.